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Post by svenman on Oct 20, 2010 12:05:29 GMT -8
interesting article. written by someone who hasn't even been in the building. the internet at it's finest.  |
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Post by Weekender on Oct 20, 2010 12:19:49 GMT -8
There are thousands of installation art that limits or doesnt allow interaction, but it doesnt mean that its futile.....isnt?
Too bad they have stop interaction for health reasons in this installation......
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Post by cpk on Oct 20, 2010 16:20:48 GMT -8
One of the commenters on the article had a seemingly good idea: Allow people to interact with the installation while wearing a face mask. Though it is still amazing, it is still sad that it is no longer interactive; those seeds want to be touched.
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Post by The Gorgon on Oct 26, 2010 10:23:59 GMT -8
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Post by lowpro on Oct 27, 2010 5:03:56 GMT -8
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Post by The Gorgon on Oct 29, 2010 15:16:17 GMT -8
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Post by commandax on Nov 1, 2010 7:16:29 GMT -8
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Post by lowpro on Nov 1, 2010 7:55:52 GMT -8
That is one of the most amazing projects I've ever heard of. Pure genius. Thank you so much for sharing this.
I'd like to think some video footage was shot to preserve the experience in some way, even if it goes against the grain of the project as a whole, and might see the light of day as a short documentary, perhaps years down the road. But due to the conditions and the risk of detection et al, I presume that's not the case. Eventually the location will get leaked and more and more people will attempt to locate it, with someone probably injuring themselves in the process, and the work will be forever lost as a result. At the same time, isn't shinning a light on the covert project with a NYTs piece not so subtly encouraging folks to seek this out. I know reading this wonderful piece has so completely piqued my interest it's scary that I was day dreaming about myself finding these relics. Wish I knew more about the NYC subways.
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Jesús
Full Member
Posts: 199
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Post by Jesús on Nov 1, 2010 9:29:53 GMT -8
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Post by commandax on Nov 1, 2010 20:30:33 GMT -8
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Post by Weekender on Nov 2, 2010 10:50:22 GMT -8
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Post by jediak on Nov 8, 2010 10:41:30 GMT -8
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Post by gildoinc on Nov 9, 2010 9:27:41 GMT -8
The Art Newspaper just published a little article on the "Deitch class of 2010". It's pretty short so I posted the whole thing.
What happened to the Deitch class of 2010?
Once the art dealer announced his major museum job, the race was on
By Marisa Mazria Katz | From issue 218, November 2010
Published online 9 Nov 10 (market)
NEW YORK. Four months after Jeffrey Deitch shut Deitch Projects to become director of the Los Angeles Museum of Contemporary Art, where have all his artists gone? Seven artists from the stable continue to work with two of his gallery’s former directors, Kathy Grayson and Meghan Coleman, at their three-month old, Soho-based gallery, the Hole. While Grayson insists the Hole does not formally represent any former Deitch artists, they have already featured and plan to work with artists including Taylor McKimens, Ben Jones, Dearraindrop, Takeshi Murata, Francine Spiegel, Barry McGee and Evan Gruzis.
Grayson and Coleman say they will announce a list of gallery-represented artists when they find a larger permanent space. “We are trying to attract an investor to make the transition to a Deitch-calibre space,” said Grayson. The gallery has plans, she added, for “ten big shows to raise money for that permanent space. Then we will announce who we represent.” Most inventory from the artists they have been working with was sold during their Deitch tenure—although some works from Gruzis, Jones and McGee are now part of the Hole’s stock.
London-based Raqib Shaw announced his decision last month to follow former Deitch director Nicola Vassell to Pace Gallery, where she is now a director. Speculation that Vassell might have lured other artists remains, as other big name Deitch artists she worked closely with, like Tauba Auerbach, have yet to make decisions about their New York representation. According to art advisor Lisa Schiff, of Schiff Fine Art, Auerbach “is a very smart woman who is being very patient and trying to make the right decision”. Schiff added: “It’s a very delicate balance and never a perfect one.”
LA-born Kehinde Wiley, with whom Vassell also collaborated at Deitch, selected the Chelsea-based Sean Kelly Gallery as his new representation last Sep tem ber. Tim Noble and Sue Webster are going back to Gagosian, who they first showed with in 2001, as their sole New York gallery. Meanwhile, Jim Isermann and Nari Ward chose representation with Mary Boone and Lehmann Maupin respectively. And just this week, Barbara Gladstone announced that she now represents the highly coveted estate of Keith Haring.
But, not all have announced their next move. Robert Lazzarini, Aurel Schmidt, Mariko Mori, Clare Rojas are among those yet to reveal their plans.
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Post by gildoinc on Nov 9, 2010 9:59:24 GMT -8
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Post by jediak on Nov 9, 2010 12:25:01 GMT -8
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Post by svenman on Nov 9, 2010 12:48:59 GMT -8
i think that this has been the worst kept secret of 2010 hasn't it? i'm surprised the thing didn't get dogged long before they 'went public'. most people seemed to know about the project long before, and i'm surprised that the tunnel writers had let this whole thing alone - they must have known about it. |
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Post by svenman on Nov 9, 2010 15:38:46 GMT -8
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Post by Weekender on Nov 15, 2010 7:56:08 GMT -8
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Post by oldfartatplay on Nov 16, 2010 8:49:54 GMT -8
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Post by gamma888 on Nov 16, 2010 21:52:39 GMT -8
our generous tax at work has given this abstract expressionist movement a free, vast world attention... oohh... how much would I love to be one of CIA's art consultant in these days! |
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Post by afroken on Nov 25, 2010 3:16:25 GMT -8
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Post by rhythmgtr5 on Nov 29, 2010 10:25:32 GMT -8
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Post by sleepboy on Nov 29, 2010 10:33:03 GMT -8
Or stolen. Either way, previously unknown works found haha. |
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Post by jediak on Dec 7, 2010 14:30:23 GMT -8
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Post by jediak on Dec 7, 2010 14:37:51 GMT -8
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(no more art purchases...)
